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2 Many DJ's / VARIOUS - As Heard On Radio Soulwax Pt. 2 / The Best Bootlegs In The World Ever
(Pias Ė import)/(No Label Ė import)

Amateurs copy, professionals steal. Well, no duh. But this musical axiom has perhaps never been more true than on these two new import DJ collections that expertly blur the lines of what is legal and what is actionable, of what is sacred and what is profane.

The practice of grafting pieces of songs onto each other is decades old, but rarely have the pairings been so jarring as they are on these two comps. Best Bootlegs is the more underground of the two, and itís structured more as a collection of songs than Radio Soulwax, which plays more like one cohesive, mixed whole. Therefore itís not surprising that itís Best Bootlegsí tunes that are most striking on their own. It starts with a meld of "(I Canít Get No) Satisfaction" and "The Rockafeller Skank." As things progress, the music of "Smells Like Teen Spirit" and "California Uber Alles" is used as a bed for the vocals of Destinyís Child, and it sounds strangely apropos. Eminem and D12 are laid over Depeche Mode and Missy Elliott patched on top of The Cure, as though the songs should have been arranged that way in the first place. Itís somewhat shocking how well Madison Avenueís "Donít Call Me Baby" fits over Blurís "Song 2," and how seamless the match of Basement Jaxxís "Romeo" is with The Clashís "Magnificent Seven." RCA labelmates Christina Aguilera and The Strokes even get the paired-up treatment. My bodyís saying letís go.

Soulwax is also brilliantly mixed, containing mostly smaller snippets of considerably more recordings than Best Bootlegs. One of the grandest moments here, the melding of The Stoogesí "No Fun" with Salt n Pepaís "Push It," is also included on the Bootlegs release. Another of the more expansive highlight tracks features still more Destinyís Child, this time holding hands with 10CCís "Dreadlock Holiday" until Dolly Partonís "9 To 5" kicks in. For real, though. Mostly, though, itís a quick scan through a world where Skee-Lo and The Breeders coexist harmoniously. Who knew?

Itís tough to be indifferent to such polarizing sounds. Many fans, particularly those on the more indie side of the equation, will not be able to abide this stuff. To those who couldnít help but sing along with the words of Bobby McFerrinís "Donít Worry Be Happy" every time that 4 Non Blondesí "Whatís Up?" came on the radio (it works!), listening to this CD is likely to be the most fun youíll have with your clothes on all year. If there is a grand artistic statement here, itís that, no, nothing is original, and nothing is sacred. The number of songs out there in the world truly is finite, after all.

YEAH YEAH YEAH, 2002